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It often seems that the flat fields of color curl around the Figure, together constituting a shallow depth, forming a hollow volume, determining a curve, an isolating track or ring [...]. This kind of situation finds its equivalent only in theater [...] or else it is found in visions of bodies plunging in a black tunnel. But if these fields of color press toward the Figure, the Figure in turn presses outward, trying to pass and dissolve through the fields. Already we have here the role of the spasm, or of the scream: the entire body trying to escape, to flow out of itself. (Deleuze 2003: xiii b)
[The armature] can consist in the action of a very particular section of the field that we have not yet considered: the field occasionally includes a black section, sometimes quite localized (Pope No. II, 1960 [27]; Three studies for a Crucifixion, 1962 [29];Portrait of George Dyer Staring into a Mirror, 1967 [45]; Triptych, 1972 [70];Portrait of a Man Walking down Steps, 1972 [68]), sometimes even flowing (Triptych, 1973 [73]), and sometimes total or constituting the entire field (Three Studies from the Human Body, 1967 [44]). (Deleuze 2003: 104c)[l'armature peut] consister dans l'action d'une section très particulière de l'aplat que nous n'avons pas encore considérée : en effet, il arrive que l'aplat comporte une section noire, tantôt bien localisée (« Pape n° 2 » 1960 [45], « Trios études pour une crucifixion » 1962, « Portrait de George Dyer regardant fixement dans une miroir» 1967, « Triptyque » 1972, « Homme descendant l'escalier » 1972), tantôt même débordante (« Triptyque » 1973), tantôt totale ou constituant tout l'aplat (« Trois études d'après le corps human » 1967). (Deleuze 2002: 140c.d)
Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.
Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.
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